Discovering Aikido: Principles for
Practical Learning

Space

Ma-ai is the distance
at which combatants engage each other; as this distance is shortened, the
courage and skill of the warrior must be increased.
Donn F. Draeger

One should always be
aware of one’s surroundings with a view to self protection. For example, even
the dojo is designed with protection in mind. The entrance is ideally to
the rear left corner (when facing the kamiza), where the lowest students
traditionally sit. The teacher sits at the front with his back to the wall,
keeping the door in full view. If the teacher wanders near the door, so they
should become a little more aware of that potential source of danger, not
turning their back on it. If a madman suddenly enters then those of more ability
at the further end of the dojo have more time to react. The dojo
is the teacher's space and it is designed for them alone. So, the next time when
in a public place choose where to sit a little more carefully.

(a)
Distance

Negotiating distance.

Ready to attack.

Distance, or ma-ai,
refers to the starting position in Aikido from where uke usually
initiates a one step attack against tori and this distance is usually
determined by one's reach. For standing techniques tori and uke
will be at least one tatami length apart, but less than two, and should
be slightly different for every partner. For kneeling techniques, or
suwari-waza, as the step is shorter, so is the initial starting distance.
Typically, the distance is within one tatami length.

In preparation for the
attack the ideal uke gets the distance correct; tori just waits.
Sometimes tori and uke can be seen continually shuffling about in
preparation. This scenario occurs when each is sure that their interpretation of
distance is correct, and that the other is at fault. Clearly, something needs
sorting out but it could also be a reflection of tori and uke
being of a different size. Certain schools maintain different distances; some
start closer, others further apart. This can not be right – distance can not be
set exactly.

It goes without saying
that putting a weapon in your hand increases the distance by at least the length
of the weapon.When both partners hold swords, uke should
typically be a ‘one-step-attack’ away from tori in terms of either
tsugi-ashi or ayumi-ashi. When standing, the swords do not cross. If
the swords cross, the fight has already started. Instead, the minimum distance
between the two extended swords should be at least a few inches. It could be a
lot greater, being determined by how far one could leap to strike, or at extreme
even the distance one could accurately throw, or fear thrown, a dagger.
Unfortunately, in modern Japanese arts, very little thought is placed on correct
distance or length of weapons. Assuming the weapons to be of the same length,
which they almost always are, remaining variables are length of arm, length of
stride, and length of lunge. Obviously different for everyone, this means there
can be no set distance, the measurement of which can only be 'negotiated' in the
moment by each pair as they face each other. One with a longer arm, stride, and
lunge would feel 'ready' and capable of attack at a longer range while their
partner might want to edge a little closer, although might do so rather warily.
Naturally, their tactics might differ too. For example, in the latter case the
taller and longer in stride and reach might be more aggressive, the shorter more
defensive. Now, if the swordsmen were free to choose their weapons, it might be
that a short stocky swordsman with shorter arms would choose to hold a longer,
but heavier sword closer to their centre whereas a tall, lanky, small-framed
swordsman might decide upon a shorter lighter one. And if that same shorter
swordsman decides to suddenly thrust holding with just one hand at the bottom
end of the handle, he will gain several inches in an instant. Of course, all
things being equal, if the object is to stick the sharp point into an opponent,
the tall person with the longer reach holds the advantage. But as we all know,
things are never all equal, nor does the best fighter always win.

When holding a jo
(staff), much of the above holds true. When facing one's partner the staves
should not cross. One should only be concerned about one's own correct distance.
Some shuffling is normal. If the opponent is too close, then one either thrusts
if confident, or retreats if unsure. Again, as in sword work, uke
typically starts from a ‘one-step-attack’ away. However, as the staff is longer
than the sword, then so the initial distance should be greater. In addition,
tori should be at a distance whereby it is possible to step back just one
step to avoid a long range one handed roundhouse type strike, typically to the
knee. For each unequal pair there will be one optimal 'negotiated' distance.
Both tori and uke have to figure out this optimal distance as a
pair. In so doing, they will both learn how to fit together harmoniously, and
later, they will also learn that they can take advantage of mistakes their
partners make in their measurement of distance.

When
using the tanto in Aikido, typically, one person has it, the other does
not. Therefore it should be immediately obvious that the one who has it has the
advantage of distance. That one should start in a posture with hand and tanto
crossed is ridiculous, which should therefore establish the principle that to do
so when both tori and uke have empty hands is likewise wrong. If a
principle is to be principle it should stand the test of logic and carry over
into other situations. Typically, the attack starts from one step away, and
uke may decide to add spice and 'poke' tori should a suki
(gap) emerge in their technique.

In Aikido, one does not
normally kick. However, even though one does not kick, one should be in such a
position that it is possible to do so, should one wish. Thinking like this will
teach one the correct distance to maintain during the technique. Careful
consideration here will see certain set distances that can be established. In
terms of the feet, close enough to deliver a low side kick, a low instep kick, a
knee to the ribs as uke comes down (as in ikkyo), a step on the
foot, or a trip. If any of the latter are possible, it is fair to say the
distance is good, but if one is between distances, and such counter-attack is
not possible, then the distance could be said to be compromised.

The
attack gives tori something to work with, hence the famous phrase, 'no
attack, no technique'. In Budo, the best time to act is early and therefore, it
is useful for tori to train to close the distance.

(b) Weapon length

Sword is
shorter than optimal length.

The most distinctive
feature of weapons in Japanese martial arts is that of each type, they
are almost all of the same length. In Paradoxes of Defence (1599),
George Silver, calculates the correct length of a one-handed sword as
being, with the sword arm's (right) elbow fully drawn back, long enough
to uncross one’s own dagger, or in other words, reach the fingers in the
outstretched opposite (left) hand. Any longer, it advises, would result
in one not being able to disengage rapidly if crossed (by withdrawing
the elbow). Any shorter, it advises, would result in one not taking
advantage of one's physical size. The size of the English short-staff
(up to nine feet long) was calculated according to one’s height and
length of arms.

Staff fighting of olde
was divided into short and long range: Short range fighting called for a
half-staff position where the practitioner held the staff a quarter-length from
each end, thereby holding half the length between the hands. In longer range quarter-staff fighting, one held the lower
quarter-length end of the staff with the point squared at the opponent. Here we
see two completely different strategies combined for one weapon. While there may
be different methods of calculating the correct length of weapons, what is
readily apparent in Aikido is that they are all the same - no thought is given
to one's physical size whatsoever, although on rare occasions some do speak of a
ground to armpit length measure for the jo. Further, if one spies an old
Japanese suit of armour in a museum with a katana next to it, one can not
fail to notice just how small that suit is in relation to the length of the
accompanying sword. Surely, for a long-armed six-foot Anglo-Saxon a modern
standard Japanese katana must be rather short. The blade of my own bokken
is 29.5 inches; according to Silver’s method my six-foot frame could handle a
blade 9.5 inches longer.

I have heard many times
that the movement of the jo in Aikido represents that of a spear.
Certainly, it must be a very short spear. All I can conclude is that someone
must have chopped the pointed part off of an old spear for training purposes and
then forgotten to have added a bit of extra length to make up for it. Spears are
long, usually much longer than staves. Another possibility is that O Sensei
incorporated Jukendo (bayonet) movements in to his Aikido training using the
jo; he was known for his prowess at Jukendo whilst training the Japanese
military before the War. Further evidence that the jo is not a staff can
be found in the fact that in Jodo, the Japanese art of the short staff, the
techniques are quite different, being more suited to a weapon the size of the
jo. If I appear to criticise Japanese weapons
somewhat for maintaining tradition over common sense, it should also be pointed
out that after the invention of the gun in renaissance Europe, the design of
swords was more likely to be dictated according to gentlemen's fashion than to
function.

What is most important
in Aikido practice is to search for and maintain common principles in terms of
co-ordination, space, and time. What is learned with the bokken ought to
correspond and not conflict with what is learned with the jo or empty
hand. Weapons training offers insight into common principles and if ignored, one
is likely to end up practising separate arts, and though one spends a lifetime
at task, one might never understand. One is not likely to become a sword master
by studying Aikido. If that is the aim, one must study Kenjutsu. Simply, the
purpose of weapons practice in Aikido is to provide foundation for the empty
hand techniques.